We now begin to construct a funky rhythm, analyzing a series of typical procedures that will bring us to the develpment of a complete rhythm. Remember that the idea that we study here is one of many ways in which its possible to "compose" a guitar piece. We will try to analyze a procedure that is more or less educational whose main purpose is the composition.
The system that we will utilize requires the use of a riff in Esus. The choice of the chord "sus" (suspended) relates to the fact that this type of chord lends itself to the use of both major and minor harmonies and melodies. This riff will be the base for the variations that will slowly be introduced, transforming the riff into a complete rhythm. We have put each variation into its own exercise, in order to differentiate one from the other.
We start by analyzing the base riff.
The base riff
The rhythmic base, as already mentioned, requires a simple riff in E(sus), based on the minor pentatonic scale, which leads to diverse harmonic interpretations. This riff is developed on the fifth and fourth strings. As a first version, we will analyzed the simple rhythm:
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Its best to immediately develop the riff using the pick slap, which makes the rhythm more interesting. In this manner, all the resulting notes are "detached", and therefore more percussive.
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If the scipt in the previous score is correct, the actual execution can be seen in the manner desribed here. For simplicity reasons, we will use standard script, as seen above. |
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You surely noticed that in the score of the base riff, there is a second measure, that is in a 4/4 rest. Infact, in this second bar a variation to the riff is sometimes constructed, developing the chord lines or single notes, while in the first bar the riff remains the same. For this reason the analysis of the following exercises will be done on the second bar. We can now start to work on the riff.
Ex. 1
The sixteenth rhythm requires the use chords built in fourths, a common characteristic of funky, but above all in modern music. If you look at the notes of the chords, you will see that they are seperated from each other by a perfect fourth (A - D - G). The root (E) was omitted, in order to make the chord more free from eventual harmonic ties. If desired, this solution can also be used on other chords (for example D7, A7, G...), within a song that has a base root of E.
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Ex. 2
In the second half of the bar new chords are used, made of fourths and one tone above, that then return to the initial chord. In this manner, we have a harmonic movement that is predominantly connected to the base root of E.
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Ex. 3
In this case see how to develop new series of single notes using the pick slap. Note how the frequent use of the rest gives life to the rhythm itself.
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Ex. 4
We combine the two modes: chords and single notes. Pay attention to the correct use of the rhythm, which is more complicated with respect to the previous examples.
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Ex. 5
We work with single notes, in order to create a type of "response" to the first bar. The sixteenth rhythm for the notes and rests keeps the execution in "movement".
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